New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-11-19
MUSIO-IHE DRAMA.
PHILHARMONIC SOCIETY REHEAp

| PARLIAMENTARY SOClEl1 REHEARSlT
| The fact that the New-York Philharmonic Social, .
still tho finest orchestral organization I'm thu Un,a
States wildly brought to the consciousness q, ,,
audience at the public rehearsal for tho first conc.s
(set down for this evening" In the Metropolitan Op.
House yesterday afternoon. Tho Performance. wa /.
every sense the most admirable Of Its kind that ON
music patrons have been privileged to enjoy in tvC
years. In tho playing Of the band there was 10 trsn
Of tho sovenllness which tho Of rehearsals ana
the instability Of composition consequent on Mr. Thom
ass connection with tho American opera caused aa
season The strings gave out full sonorous body a
tone, and tho w"Ofwind choir, doubled for the oe
caslon, was mcllower, moro homogeneous and betcs
balanced than te choir In Mr.. Thomas's orche,
ira There was Q splendid muscularty about tn
music In spite Of the vastness Of the audenceroon
and the cars were not hurt by the stridcnt brass n
they have lately been In Steinway Hall
The "Faust' overture by Wagner and Beethoyens
C-minor symphony provided musical delights OF tie
highest order, and to find performances Of them wohs
OF being compared with yesterdays would have to
ransack he memories Of seas. rs before thu present
feversh excitement seized upon musical life. They
were fine exemplifcations Of the union Of feeling IN
tellgence, technical excellence and beauty and nobility
of tone. In fact the rehearsal so perfect tina,
Is impossible 10 imagine how the this evening
can show the improvement over It That We have beer
accustomed to look for.
Tho audience renewed delightful acquaintance
when Madame Camilla Urso came forward to play Ru'
blnsteIns violin concerto op. 46 u IS many years
since Madame Urso heard In a hgh-class concert
In New. York, and only nose who remembered how
deeply grounded IS her Artistic nature we're prepared
to expect tho treat winch she provided Her choice
OF Rubnsteln's seldom heard composition was a com.
pment to the audience. and stimuli express, Cd
Of confidence In It's dscernment and her own powers
The concerto does not belong In the category Of popu
lar compositions nor Is t show. piece for tie violin
On the contrary IT IS smch IMPOSITION as a grea
musical author might write in his most serious mood
composition In which tho musical thought Is all and
tho performance only humble vehicle for It's ex.
preston Trviaiity IS utterly foreign to II and Is
FREQ from every effort TO catch the Of the ground
lings There IS some cropping 10 the dark In the first
ing OF Beethoven adagio and tho spiritual contents
bned with holiness and dignity. II Is COMPOSITION
which cas for the Highest artistic attributes In the in
terpreston and nothing could speak more elOQuentIy
OF Madame Urso's powers than the manner IN which
she held the attention Of the audience to IT, Not for
a moment did she permit the interest In tho work 10
fstcT Yet the concerto Is long and there ms
vivacty OF movement in II. Al times her playing
seemed lacking warmth and we fancied thai her
anxiety be heard In the big led her 10 produce
harSher tone han IS her wont bnf the fine nieecu
sty OF her performance, ts dignity and breadth, OF
set the obvious want LISTS Fcsthlangc7 conclude
tho rehearsal